Thursday, July 23, 2009

Eternal fragrance!

"Veena Vadana Tatvagnyah Shruthijaathi Vishaaradhah

Thaalagnyashcha apraythnena mokshamargam niyachchathi!"-(Yagnyavalkya Maharishi-Liberation or salvation can be easily attained by the practitioner who can play the veena effortlessly and perfectly in the aspects of shruthi,laya and manodharma!).

"Darshana Sparshanechasya Bhoga Swargaapavargade

Puneetho Viprahathyadi paathakaiah pathithamjanam!"(Sarangadeva says that the mere sight or touch of veena cleanses even a sinner who has slayed a brahmin!).

When musical notes are sung or played,they interact with the seven chakras of the body and not only that,they even represent Saptha Mathrikas, Brahmi, Maheswari, Kowmari, Vaishnavi, Varahi, Indrani and Chamundi.The sapthaswaras originate from the Sahasrara chakra and from there, they travel to their assigned positions to remain there.

The manner in which the Sapthaswaras (in descending order) travel from Sahasrara to their designated positions is illustrated below:-

Since Sahasrara is allotted the supreme position of containing all the Sapthaswaras,the order starts from Nishadam to Rishabham in the descending order,as a result the Saptha Mathrikas are mentioned from the last to the first in their order:-

1.Nishadam (ni) is represented by Chamundi Shakthi and correlates with the Muladhara Chakra.When the note "nishadam" is touched by the practitioner,the sound starts from Sahasrara and travels all the way below the spine to the Muladhara chakra and remains there.It has no upward motion.

2.Dhaivatham (dha) is represented by Indrani Shakthi and is related to the Swadhishtana Chakram.When the note "dhaivatham" is touched by the practitioner, the sound starting from Sahasrara ,travels all the way down to the Muladhara chakra and raises upwards to reach the Swadhishtana at the genital region and stationed there.

3.Panchamam (pa) is represented by Varahi Shakthi and is related to the Manipooraka Chakra.When the note "panchamam" is either sung or played on an instrument by the practitioner,the sound starting from Sahasrara Chakra travels all the way down to the Muladhara Chakra and raises to reach the Manipooraka Chakra at the solar plexus or navel region to be stationed there.

4.Madhyamam (ma) is represented by Vaishnavi Shakthi and related to the Anahatha Chakra.When the note "madhyamam" is touched by the practitioner,the sound that arises from the Sahasrara travels all the way down to the Muladhara Chakra,raises up from there to go to the Anahatha Chakra at the cardiac plexus or the heart region to stay there.

5.Gandharam (ga) is represented by Kowmari Shakthi and is related to the Vishudhi Chakra. When the note "gandharam" is touched by the practitoner, the sound travels from the Sahasrara Chakra way down to the Muladhara Chakra and raises upto reach the Vishudhi Chakra, at the carotid plexus at the throat region and stays there itself.

6.Rishabham (ri) is represented by Maheswari Shakthi and is related to the Agna Chakra.When the note "rishabham" is touched by the practitioner, the sound travels from the Sahasrara all the way down to the Muladhara Chakra and raises upto the Agna Chakra which is at the medula plexus between the eyebrows and stays there.

7.Sadjyamam (sa) is represented by Brahmi Shakthi and is related to the Sahasrara Chakra , where all the swaras originate as well as dissolve themselves.

The movement of 'prana' in the human body and the flow of sound, 'naada' in the veena is similarly patterned. According to Maithraayanniya Upanishad the prana circulates in the human body on a single day and night for 21,600 breaths. According to our ancestors, the sun revolves around the Mahameru 21,600 times in a single day. A day in the life of a man is known as one revolution of the earth and one breath of sun. 21,600 days constitute 60 years in a man's life time which is known as 'parivruthi'. Two 'parivruthis' constitute a 'kalachakram'. This is also known as 'Purusha Ayush' consisting of 120 years in astrology. This constitutes two days in the life of sun.

A drop of blood as it circulates within a human body takes along with it one breath of the human being. This drop of blood along with one breath takes nearly 7 minutes to circulate within the human body. Similarly, when the veena string is plucked once, the nada wave emanating from it takes nearly 7 minutes to travel back and forth between the bridge of the veena to the beginning fret of the veena.

Lord Shiva was known as 'Veena Gana Priya'. In Thiruvilayadal Puranam Lord Shiva takes the form of wood cutter and plays 'yazh' for the sake of his disciple 'Panipathiran'. Lord Shiva stated that yazh or veena is an instrument bubbling with life because kuril, nedil ­'consonants' and' gamakam' can be played in it without interruption.

A man who recites Gayathri 100 times is absolutely elevated. He reduces 21,600 breaths to 108 breaths per day through pranayama. Hence he enhances one year of life span to 200 years of life span. The veena yogi, by meditating on the tharasthaayi shadjamam within the lotus of his heart is able to reduce the 21,600 breaths to 2,160 breaths. He reduces the same to 1,080 breaths by meditating on madhyasthayi shadjamam and to 540 breaths by meditating on the Aadhara Shadjamam. Therefore the yogic power of the three sthaayis contribute towards the strengthening of the longevity of man to make good use of life towards realising God.' (Incidentally the 'Hrudayakamalam' , the lotus of the heart) has 12 petals bearingBijakharas 'ka', 'kha', 'ga', 'gha', 'nga', 'cha', 'chcha', 'ja', 'jha', 'gnya', 'ta', 'tha'.The first, eighth and eleventh petals 'ka' 'ja' and 'ta' are bheejaaksharas to be meditated upon to unravel the secrets and mysteries of all fine arts towards cosmic truth. Muthuswami Dikshitar's has composed the krithi 'Kanja thalaayadaakshi' in Kamalamanohari with these bijaksharas being emphasised in the beginning of the krithi itself. It is also interesting to note that Saint Thyagaraja composed' Sobhillu Sapthaswara' with the seven aksharas of the Tharaka Mantram 'Sri Rama Rama Rama' (Sri Ra Ma Ra Ma Ra Ma) in mind and not 'Sa ri ga ma pa da ni' as misunderstood by many. Saint Thyagaraja, overjoyed by the vision of Lord Rama sang in praise of the Tharaka Mantram which granted him the vision.

p.s:The comment posted by Music Lover,raising the doubt about why Sri Thyagaraja has composed "Sobhillu Sapthaswara" in a janya raga instead of a sampoorna raga is a very relevant and valid one,something that never struck me.It throws light on the fact that the saint composer was referring to the Tharaka Manthram by not composing "Sapthaswara" in a sampoorna raga!

10 comments:

dear madameThat is marvellous madame. There are many people who gather the knowledge but does not want to share it. The people with wisdom prefare to teach and share what they read. It is really a fabulous job you are doing madame, the information you gather and give to us is really fantastic and useful and guide us.These information are treasures so keep writing mam. when I first touched veena I was so excited and when I started playing my excitment overwhelmed, I have never thought about the chakras and compared, Now my practise will be more deeper.thank u mamwith love mala

What a lovely post yet again! I am absolutely touched by the depth of your knowledge, devotion and abject surrender to Her who manifests as the divine Veena! Thank you so much for this delightful post. Love, Saipriya

Dear madam,You are really a great person. Not all wish to share their most precious information to others. But, you are doing a great service to mankind by glorifying the Veena. We are indeed lucky to be interacting and gaining knowledge from you.

Dear Mr.Srinivas,It is true that not all would like to share the most precious things.In my case,it makes me happy and fulfilled to share whatever I know,more so,when it is useful for everybody.I am far from great,I am a very small person.Thank you and regards,Gayathri

Dear Gayathri,Great article. You have answered another question I have always had about Shobhillu saptaswara.....wondered why he did not compose it in a sampurna raga when he is singing about saptaswaras. A musician who performs/practises music understanding all such things that you have been mentioning in your articles is more a carnatic music 'practitioner' than a 'performer'. Please keep writing.Music Lover

Dear Music Lover,I just logged on to reply to your comment,when I saw your second comment.Please do not worry,I just did not even notice the difference,even if I had, I would only look at the positivity of it,as I always do.I am touched by your clarification. Thank you for bringing to light that "Sobhillu" had not been composed in a Sampoorna Raga,the thought never struck me.Maybe it is Sri Thyagaraja's way of indicating that the "Sapthaswaras" are not Sa ri ga ma pa dha ni!I will update this post with your kind contribution,thank you and regards,Gayathri